St. Landry democrat., 1887-09-24
REAL ACTORS.
A DEARTII OF THEM SAID TO ENIST
IN GAY PARIS.
Some Interesting Gossip Concerning the
Players of That Great City-The Shyness
of Managers to Push Struggling Genius
A New Society of Decorative Art.



very Respondent concerning the future
of the French stage NJ. Theodore Mas
siac wonders whether "the last of
national glories" is not going to the dogs.
The number of dramatic authors, it
seems, grows smaller by degrees; you
may see one arise only every two or
three years, and that one shines but a
little while. The fame of the French
stage is in the keeping of the old favor
ties, who remain young in spite of their
wrinkles, and even these old ''stagers'
may be reckoned on the fingers. Ac-
cording to NJ. FrancisQue Sarcey, French
mothers no longer give birth to come
dlans. There is certainly no dearth of
profession, and NJ. Sarcev admits that
the Conservatore has never been so
much besieged as now. The bourgeose
supplies numbers of would-be histrions,
under the impression that the actors
calling is an ordinary business, in
which a man may make large
fortune and become respectable
and famous without much eXer-
ton. But the bourgeoisie has never
had, as some fond parents perhaps
imagine, the sole privilege of producing
famous actors. NOlere was the pupil
of Gassendi, while some Of the most dis
tinguished performers of later times were
men of the highest education and breed
ing-Talma, Samson, Bressant, NJ. Lafon-
tame NJ. Regnier, VI. Dumaine, Mcingue,
Arnal and others. Rachel was, indeed,
a street-singer, but that cannot be said of
Mile. Mars, nor of Nine. Arnould-Plessy
As a rule, knowledge of the highest or
der is needed to make talent successful.
just now the Conservative is a hive of
histrionic bees, but the theatres seem to
profit little, and VI. MaSsiac laments that
nowhere can be found a ,jeune premier, a
premier role de drume, or tragic
mother" The Coincide Franchise alone
possesses a grtnde c0quette-Mlle. Tholer
but it has lost VI. Coquelin, a man of
many parts. Nevertheless, the house of
Moliere still maintains the best all-round
troupe, though their recent performances
were not altogether what they should
have been, and one, a representation of
''Tartutfe, was adversely criticised, even
by the country sight-seers who flock
into Paris at this season.
As for the other houses the Vaudeville
troupe is incomplete, but it includes some
opponents Of the first order, such as NM.
Dupius, Diendonne and Jolly. The Va
rietes also has a good company; but after
speaking of these three it is we'll to 90
no further. What is the cause Of this
lack of talent? The best authorities
blame neither the COnseryatOire teach
ing-defective as it is in some respects
nor the class from which the young
artists are recruited, although that class
is perhaps not so much changed for the
better as some would have us believe;
but they attribute the present decay of
the drama principally to lack of courage
amongst managers, to the small number
of pieces played during the year, and the
few successes in season. These three
things, say the prophets, will be the
death of dramatic art, unless a remedy
be Immediately sought for and ap-
piled. Managers will not try an artist any
more than they will try an author. Some
times they are forced to make an expert
ment with a new author, but they take
good care that he sails under the
flag of well-known playwright. NJ.
Sardou was obliged to couple his name
with that of NJ. Vanderbusch in order to
produce Les Premteres Armes de Figaro,
his first triumph. N. Vanderbusch had
not written word of the piece, but when
on "the first night" NJ. Sardou asked his
old flag" to let him have the honor, the
other replied, "Janeass de Ia cie! Our
piece is success, and when l have a
success | don't let it CO." SardOu's eX-
perience on that occasion may have made
him rather unfeeling toward other begin
ners, as he is said to be sometimes. AS
for actors, managers cannot impose a
partner upon them, but it is only by rare
chance that talented young man is suf-
fered to emerge from obscurity. And
even amongst those who are known, how
many vegetate whilst seeking a stage
where they can appear decently? Man
ayers leave talented actors unoccuried,
and some of these managers own names
that are known the world over. Some
time ago M. Sarcey told US a story of
young and well-known comedian who
asked him for recommendation to the
of the Coincide Franchise.
He had in fact already belonged to the
house, but had waited so long for a role
that he grew tired of waiting and left.
To return to the charmed circle it was
necessary to be well supported. He was
a knowing actor-studious, intelligent,
with plenty of fire and sarcasm after the
of M. Worms. But Sarcey de-
clined to help, telling him he should not
have left; Sarcey could not assist him to
walk over the bodies of his former
1t mattered not therefore,
he was better actor than the
rest, he must remain out in the cold
The other reason given for the present
decay and lack of actors is the small
number of pieces played each year.
How, it is asked, can man become
really good actor if he only plays three
Or four roles in season? What is the
secret of success in the case of many
young actor who has risen from the
ranks in these latter days? Was it be-
cause he played in various and Oft
repeated pieces and created different
parts wherein he was able to show
MS talent in its every aspect?
Not at all. He either created
! part, or was allotted one which ex-
sctly suited his character, or he was
lucky. Having once succeeded and
made sensation the playwrights made il
heir business to write pieces especially
or him. Cooked pieces" are the fash
on now. Every season sees three or
our successes, while the rest fall fiat.
How can an artist make a name in
,iece when the spectators get uneasy
Turing the first act, joke him in the
ecOnd, vaWn at the third and go to